I was sick. That was my excuse. And I was tired. That too. Too much driving and holiday distraction. And my angst was at it again. All of those things.
I had to complete my submission for the Pitch to Page screenwriting contest for female-driven scripts. Think “Captain Marvel” and “Bridesmaids” – stories propelled by a central female character. My script The Sacred Whore was perfect. What could be better than the fantastic tale of a gang of prostitutes who kidnap a basketball team to air their views on America? This was it!
It was a nightmare getting started, restructuring and focusing, and then moving through it, but I did it and I almost feel good again. I mean, not really, but closish.
Apparently there is nothing harder to write than a sex scene. (Wink, wink.) It’s either Henry Miller’s sweat (“she commenced rubbing her pussy affectionately”) or Pablo Neruda’s honey (“I want to eat you like skin like a whole almond”). Nothing in between. And that’s where I aim to come in. (Say no more.)
Dee Sinclair is not just a sex worker; she is a performer. She is featured in my last four books – My Bad Side, Anori, Aqaara and Mina – and embodies what sex in literature should be. In the words of Nancy Qualls-Corbett, she is “the bringer of sexual joy and the vessel by which the raw animal instincts are transformed…and made sacred.” (The Scared Prostitute, Nancy Qualls-Corbett.)
As Dee puts it: You know what I’m good at? I’m very good at balancing at the tip, my orgasm looming, you know, on those tender little nerve endings. And just when I might slide off sideways, before I reach that moment, letting that go and pushing harder, I stop, all taut and stupid, clinging to this moment like it might go on forever and keep it like that, everything at the tip, holding my hips high.
I try to make it a long leisurely thing, really thinking like that, and then slide into my mania again, and all I can see is the sex, just the flesh, naked and depraved, everything like I’m a kid again, and I’m holding it, holding it, staring ahead, lost, my hands digging in, snapping ahead, missing the steps as I come out of a dream and finally give in.
I am the honored one and the scorned one/I am the whore and the holy one/I am the wife and the virgin/I am the mother and the daughter…(6) This Sumerian poem, written hundreds of years before the rise of Greek civilization, begins Qualls-Cotbett’s The Sacred Prostitute, an academic look at the ancient rites of female sexuality.
The idea of female power and of the sacred prostitution is an anathema to the sexual politics of the past three thousand years, an idea expressed succinctly by Pythagoras: “There is a good principle, which has created order, light and man; and there is a bad principle, which has created chaos, darkness and women.” According to Qualls-Cotbett, it wasn’t always like this. Sacred rites of sexuality were a foundation to ancient civilizations: “The sacred prostitute leads the stranger to the couch prepared with white linens and aromatic myrtle leaves. She has rubbed sweet-smelling wild thyme on her thighs. The divine element of love resides in her. The stranger is transformed.” (23)Prostitution was not a heinous act conducted behind a veil of darkness and violence, but instead “nature and fertility were the core of existence. Desire and sexual response experienced as a regenerative power were recognized as a gift or a blessing of the divine. Great Mother was the goddess of all fertility.” (31) Much of modern-day attitudes toward female sexuality comes from the Bible and Koran, where the concepts are not so far from these ancient ideas: “She is the breath of the power of God, a pure effluence flowing from the glory of the Almighty.” (105) And yet, the dichotomy in today’s Calvinist/Capiltalistic world remains as strong as ever, reviling and adoring women solely on their sexuality, secreting the act of sex to one of shame, promoting pornography, defiling our scared selves.
